Galerie AllenParis, FR

Paris, FR

Galerie Allen

galerieallen.com
joseph@galerieallen.com
+33 (0) 145 26 92 33

For Dream New York, Colin Snapp questions the mechanics of modern perception. Entering the work through the artist’s itinerate interest in image capture two subjects are instantly recognisable; nature and technology. The importance of how one affects the other becomes apparent when considering his focus upon the mediated experience. Portrayed is the artist’s examination of the retina’s detachment to experience that is not damning but composed, exploring the progressively relevant topic of intervention in modern viewing.

Two excerpts of the video work Panorama, 2012 and new TC Studies, an ongoing series of single edition large-scale photographs are presented in what, may-or-may-not be, a real and physical exhibition.

Engaging and poetic to the eye the works are a fictionalised version of a tourists view, via video in nature. The TC Studies are photographs of tilting video camera flip screens capturing a specific moment anchored in time, their ephemerality frozen, recorded and contained. The many facets of natural flora reduced to a flat surface now seen on a screen then rephotographed once more adds a second view point depicting multiple levels of viewing, and in turn multiple levels from the source. An image on a small flat screen is reinstated as 180 centimetre tall macro photos of glass pixels; if time in nature is filtered through technology then it is Snapp’s ability to transform this back into a state both sculptural and organic that delivers a destabilising reversal.

Panorama, 2012 speaks most clearly to the themes of a disconnected experience in nature. A single-channel video of 37 minutes, the work examines tourists entering and passing through the recognisable wildlife of the Pacific North-West of America’s national parks. We see the walkways working to keep the tourist from their emersion in awe-inspiring nature, yet automatically and almost as if a requirement, the tourists add another partition by placing a screen between themselves and their attention. As such they have inadvertently reduced a 360 degree vantage point to no-more-than a 10 centimetre wide LCD display.

Colin Snapp, born 1982 in Lopez Island WA, USA, lives and works in Berlin, Germany. Recent solo shows have been held at Galerie Allen, Paris; The Journal, New York; Unosunove Gallery, Rome and a solo presentation at NYABF at MoMA PS. His work has been included in group exhibitions at Hauser and Wirth, New York; Mission Road Gallery, Los Angeles; Ibid Projects, London and Los Angeles; Whitney Museum of Art, New York; The New Museum, New York. Colin Snapp also has a collaborative output as Jules Marquis with artist Daniel Turner.


Colin Snapp, ‘Panorama’ (excerpt), 2012, 16:9 Video with Audio, 37′

Colin Snapp, ‘TC00042111’, 2016, C-Print, 177 x 115cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00042111’, 2016, C-Print, 177 x 115cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00191103’, 2016, C-Print, 177 x 115cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00191103’, 2016, C-Print, 177 x 115cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00032426’, 2013, Archival Ink Jet Print, Glass, Pedestal, 122 x 183 x 18cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00032426’, 2013, Archival Ink Jet Print, Glass, Pedestal, 122 x 183 x 18cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00231918’, 2016, C-Print, 177 x 115cm, Edition 1 + 1AP.
Colin Snapp, ‘TC00231918’, 2016, C-Print, 177 x 115cm, Edition 1 + 1AP.
Colin Snapp, ‘TC00025617’, 2013, Archival Ink Jet Print, Glass, Pedestal, 122 x 183 x 18cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00025617’, 2013, Archival Ink Jet Print, Glass, Pedestal, 122 x 183 x 18cm, Edition of 1 + 1AP.
Colin Snapp, ’TC0001430’, 2016, C-Print, 177 x 230cm (2 pieces), Edition of 1 + 1AP.
Colin Snapp, ’TC0001430’, 2016, C-Print, 177 x 230cm (2 pieces), Edition of 1 + 1AP.
Dream New York, exhibition view
Dream New York, exhibition view
Colin Snapp, ‘TC00105902’, 2016, C-Print, 177 x 115cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00105902’, 2016, C-Print, 177 x 115cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC035511’, 2016, C-Print, 177 x 115cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC035511’, 2016, C-Print, 177 x 115cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00250723’, 2016, C-Print, 177 x 115cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00250723’, 2016, C-Print, 177 x 115cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00033012’, 2016, C-Print, 177 x 115 cm, Edition of 1 + 1AP.
Colin Snapp, ‘TC00033012’, 2016, C-Print, 177 x 115 cm, Edition of 1 + 1AP.

Colin Snapp, ‘Panorama’ (excerpt), 2012, 16:9 Video with Audio, 37″

Arcadia MissaLondon, UK

London, UK

Hannah Black ‘All My Love All My Love’, 2015, HD Colour Video with Sound, DVD and file on USB, 6’34”

Jesse Darling, 'Kneeling Machine', 2015, Steel, Pram, Wheels, 64 x 147 x 38 cm
Jesse Darling, ‘Kneeling Machine’, 2015, Steel, Pram, Wheels, 64 x 147 x 38 cm
Jesse Darling, 'Colonel Shanks', 2016, aluminium mobility crutch, welded steel, wood, chain, castor, 244 x 48 x 131 cm
Jesse Darling, ‘Colonel Shanks’, 2016, aluminium mobility crutch, welded steel, wood, chain, castor, 244 x 48 x 131 cm
Jesse Darling, 'Colonel Shanks', 2016, aluminium mobility crutch, welded steel, wood, chain, castor, 244 x 48 x 131 cm
Jesse Darling, ‘Colonel Shanks’, 2016, aluminium mobility crutch, welded steel, wood, chain, castor, 244 x 48 x 131 cm
Jesse Darling, 'Domestic Terror 1', 2016, steel, cloth, 89 x 64 x 40 cm
Jesse Darling, ‘Domestic Terror 1’, 2016, steel, cloth, 89 x 64 x 40 cm
Jesse Darling, 'Temps de Cerises I', 2016, wood, wire, welded steel, plastic, paper 259 x 106 x 201 cm. 'Domestic Terror 2', 2016, steel, cloth, 89 x 64 x 40 cm.
Jesse Darling, ‘Temps de Cerises I’, 2016, wood, wire, welded steel, plastic, paper 259 x 106 x 201 cm. ‘Domestic Terror 2’, 2016, steel, cloth, 89 x 64 x 40 cm.
Jesse Darling, 'Domestic Terror 3', 2016, steel, cloth, 71 x 1 x 85 cm
Jesse Darling, ‘Domestic Terror 3’, 2016, steel, cloth, 71 x 1 x 85 cm
Jesse Darling, 'Saint Batman', 2016, welded steel, sugar, antivirus mask, expanding foam, plastic, 159 x 61 x 27 cm
Jesse Darling, ‘Saint Batman’, 2016, welded steel, sugar, antivirus mask, expanding foam, plastic, 159 x 61 x 27 cm
Jesse Darling, 'Temps de Cerises II', 2016, wood, welded steel, expanding foam, plastic, safety light, trolley wheels, 254 x 114 x 156 cm
Jesse Darling, ‘Temps de Cerises II’, 2016, wood, welded steel, expanding foam, plastic, safety light, trolley wheels, 254 x 114 x 156 cm
Jesse Darling, 'Temps de Cerises II', 2016, wood, welded steel, expanding foam, plastic, safety light, trolley wheels, 254 x 114 x 156 cm
Jesse Darling, ‘Temps de Cerises II’, 2016, wood, welded steel, expanding foam, plastic, safety light, trolley wheels, 254 x 114 x 156 cm
Jesse Darling, 'Cavalry (sugar n stone)', 2016, fondant sugar, steel, clay, 105 x 102 x 37 cm
Jesse Darling, ‘Cavalry (sugar n stone)’, 2016, fondant sugar, steel, clay, 105 x 102 x 37 cm
Penny Goring, 'shitfoot #3', 2015, Ballpoint pen on paper, 21 x 29.7 cm
Penny Goring, ‘shitfoot #3’, 2015, Ballpoint pen on paper, 21 x 29.7 cm
Penny Goring, '20th century shitfoot', 2015, Ballpoint pen on paper, 29.7 x 21 cm
Penny Goring, ’20th century shitfoot’, 2015, Ballpoint pen on paper, 29.7 x 21 cm
Penny Goring, 'and you'd be the one who was laughing', 2015, Ballpoint pen on paper, 29.7 x 21 cm
Penny Goring, ‘and you’d be the one who was laughing’, 2015, Ballpoint pen on paper, 29.7 x 21 cm
Penny Goring, 'the amazingly persistent legend of you', 2015, Ballpoint pen on paper, 27.9 x 21 cm
Penny Goring, ‘the amazingly persistent legend of you’, 2015, Ballpoint pen on paper, 27.9 x 21 cm
Penny Goring, 'more fool me', 2016, Ballpoint pen on paper, 29.7 x 21 cm
Penny Goring, ‘more fool me’, 2016, Ballpoint pen on paper, 29.7 x 21 cm
Penny Goring, 'shame on me', 2016, Ballpoint pen on paper, 29.7 x 21 cm
Penny Goring, ‘shame on me’, 2016, Ballpoint pen on paper, 29.7 x 21 cm
Penny Goring, 'getoff ', 2015, Ballpoint pen on paper: 21 x 14.8 cm
Penny Goring, ‘getoff ‘, 2015, Ballpoint pen on paper: 21 x 14.8 cm
Hannah Black, 'Black Quadrilateral 1', 2015, Steel, matte emulsion colour matched to artist's arm painted on MDF board, 183 x 243 x 40 cm, Unique.
Hannah Black, ‘Black Quadrilateral 1’, 2015, Steel, matte emulsion colour matched to artist’s arm painted on MDF board, 183 x 243 x 40 cm, Unique.
Hannah Black, 'Black Quadrilateral 3', 2015, Steel, matte emulsion colour matched to artist's arm painted on MDF board, 183 x 243 x 40 cm, Unique.
Hannah Black, ‘Black Quadrilateral 3’, 2015, Steel, matte emulsion colour matched to artist’s arm painted on MDF board, 183 x 243 x 40 cm, Unique.
Bianca D’AlessandroCopenhagen, DK

Copenhagen, DK

Bianca D’Alessandro

biancadalessandro.com
info@biancadalessandro.com
+45 22 99 43 01

Tiril Hasselknippe (b. Norway 1984, lives and works in Oslo) studied at Malmö Art Academy, and Cooper Union School of Art, New York. Recent solo exhibitions include ‘Tub’, Bianca D’Alessandro, Copenhagen, 2015; ‘Phones’, Raum Drei, Cologne, 2015; ‘Sophanes’, Evelyn Yard, London, 2014; ‘The Shapers’, Grünerløkka Kunsthall, Oslo, 2014; ‘Young Ocean’, Vestfossen Kunstlabratorium, Vestfossen (NO), 2014. Recent group exhibitions include ‘NN-A NN-A NN-A – New Norwegian Abstraction’, Kunstmuseum, Stavanger (NO), 2016; ‘Roadside Picnic’, Dortmunder Kunstverein, Dortmund, DE, 2016; ‘A Form is a Social Gatherer’, Plymouth Rock, Zürich, 2015; ‘NN-A NN-A NN-A’, Astrup Fearnley Museum, Oslo, 2015; ‘One Step Ahead Moving Backwards’, KM Temporaer, Berlin, 2014; ‘Bond Street Bar’, Bond Street, London, 2014. Artist run space CEO, Malmø, 2011 – 2013. Upcoming shows include Kunstverein Braunschweig (DE) (solo), and Tranen, Hellerup (DK) (solo), Galeria Foksal, Warsaw, and A Palazzo Gallery, Brescia, (IT).

Lea von Wintzingerode (b. Bayreuth, Germany 1990, lives and works in Berlin) graduates in June from the M.F.A University of Fine Arts Hamburg, w. Prof. Jutta Koether. She also studied at the Academy of Fine Arts Vienna, w. Prof. Daniel Richter (2010-2012). Recent exhibitions include ‘Lodge’ (solo), Bianca D’Alessandro, Copenhagen, 2016; ‘PREVIOUSLY’, Nationalmuseum, Berlin, 2015; ‘Our Future Network. Concepts, Stories and other enactments’, Haus der Kulturen der Welt, Berlin, 2015; ‘YOUNG TEAM’ (solo), Kunstverein Nürnberg – Albrecht Dürer Gesellschaft, Nürnberg, 2015; ‘Kunstpreis HISCOX 2014’, Kunsthaus Hamburg; ‘TWO’, w. Christian Falsnaes, Galerie der HFBK, Hochschule für Bildende Kunst, Hamburg, 2014; ‘Lea von Wintzingerode II STILE’ (solo), Secondo Stile by Paolo Chiasera, Berlin, 2013; ‘Moonlight Lounge’, with Julie Gufler, Moonlight Lounge, Berlin, 2013. The publication Lea von Wintzingerode YOUNG TEAM with texts by Jutta Koether, Simone Neuenschwander, Christiane Rekade, published with the exhibition YOUNG TEAM at Kunstverein Nürnberg – Albrecht Dürer Gesellschaft in February 2015.


Tiril Hasselknippe, 'Balcony (survival)', 2015, Concrete, steel, water, and food colouring, 95 x 99 x 89 cm Photo: Jan Sondergaard.
Tiril Hasselknippe, ‘Balcony (survival)’, 2015, Concrete, steel, water, and food colouring, 95 x 99 x 89 cm
Photo: Jan Sondergaard.
Tiril Hasselknippe, 'Balcony (survival)', 2015, Concrete, steel, water, and food colouring, 95 x 99 x 89 cm Photo: Jan Sondergaard.
Tiril Hasselknippe, ‘Balcony (survival)’, 2015, Concrete, steel, water, and food colouring, 95 x 99 x 89 cm
Photo: Jan Sondergaard.
Lea von Winvzingerode, 'liquid, nürnberger filter, bowl', 2014, Watercolour on board (framed), 74,2 x 90 cm Photo: Annette Kradisch.
Lea von Winvzingerode, ‘liquid, nürnberger filter, bowl’, 2014, Watercolour on board (framed), 74,2 x 90 cm
Photo: Annette Kradisch.
Lea von Wintzingerode, 'glass', 2014, Oil on canvas, 90 x 75 cm Photo: Annette Kradisch.
Lea von Wintzingerode, ‘glass’, 2014, Oil on canvas, 90 x 75 cm
Photo: Annette Kradisch.
Tiril Hasselknippe, 'Tub', 2015, Installation view Photo: Jan Sondergaard.
Tiril Hasselknippe, ‘Tub’, 2015, Installation view
Photo: Jan Sondergaard.
Tiril Hasselknippe, 'Balcony (supplies)', 2015, Concrete, steel, water, and food colouring, 90 x 90 x 52 cm Photo: Jan Sondergaard
Tiril Hasselknippe, ‘Balcony (supplies)’, 2015, Concrete, steel, water, and food colouring, 90 x 90 x 52 cm
Photo: Jan Sondergaard
Tiril Hasselknippe, 'Balcony (supplies)', 2015, Concrete, steel, water, and food colouring, 90 x 90 x 52 cm Photo: Jan Sondergaard.
Tiril Hasselknippe, ‘Balcony (supplies)’, 2015, Concrete, steel, water, and food colouring, 90 x 90 x 52 cm
Photo: Jan Sondergaard.
Lea von Wintzingerode, 'Lodge', 2016, Installation view Photo: Jan Sondergaard.
Lea von Wintzingerode, ‘Lodge’, 2016, Installation view
Photo: Jan Sondergaard.
Lea von Wintzingerode, 'dancers I', 2014, (diptych), Oil on Canvas, 2 x 70 x 65 cm Photo: Jan Sondergaard
Lea von Wintzingerode, ‘dancers I’, 2014, (diptych), Oil on Canvas, 2 x 70 x 65 cm
Photo: Jan Sondergaard
Lea von Wintzingerode, 'dancers II', 2014, (diptych), Oil on Canvas, 2 x 70 x 65 cm Photo: Jan Sondergaard
Lea von Wintzingerode, ‘dancers II’, 2014, (diptych), Oil on Canvas, 2 x 70 x 65 cm
Photo: Jan Sondergaard
Galerie Emanuel LayrVienna, AT

Vienna, AT

Galerie Emanuel Layr

emanuellayr.com
gallery@emanuellayr.com
+43 1 945 1791

Plamen Dejanoff
‘Foundation Requirement (Trifon)’
2015-2016
8 C-prints
15-20 x 20-30 cm
Courtesy the artist and Galerie Emanuel Layr


Plamen Dejanoff, 'Foundation Requirement (Trifon)', 2015-2016
Plamen Dejanoff, ‘Foundation Requirement (Trifon)’, 2015-2016
Plamen Dejanoff, 'Foundation Requirement (Trifon)', 2015-2016
Plamen Dejanoff, ‘Foundation Requirement (Trifon)’, 2015-2016
Plamen Dejanoff, 'Foundation Requirement (Trifon)', 2015-2016
Plamen Dejanoff, ‘Foundation Requirement (Trifon)’, 2015-2016
Plamen Dejanoff, 'Foundation Requirement (Trifon)', 2015-2016
Plamen Dejanoff, ‘Foundation Requirement (Trifon)’, 2015-2016
Plamen Dejanoff, 'Foundation Requirement (Trifon)', 2015-2016
Plamen Dejanoff, ‘Foundation Requirement (Trifon)’, 2015-2016
Plamen Dejanoff, 'Foundation Requirement (Trifon)', 2015-2016
Plamen Dejanoff, ‘Foundation Requirement (Trifon)’, 2015-2016
Plamen Dejanoff, 'Foundation Requirement (Trifon)', 2015-2016
Plamen Dejanoff, ‘Foundation Requirement (Trifon)’, 2015-2016
Plamen Dejanoff, 'Foundation Requirement (Trifon)', 2015-2016
Plamen Dejanoff, ‘Foundation Requirement (Trifon)’, 2015-2016
ExileBerlin, DE

Berlin, DE

Exile

thisisexile.com
info@thisisexile.com
+49 303 0640 202

#doritos
#advertisingpaintings
#branding
#lookingfororiginality
#visualmerchandising
#amateurcapitalism
#tropicalism
#productconversation
#workingincontradiction
#conceptualfunnypaintings
#insearchofeldorado


Aggtelek,';))', Doritos Series 2016, Marker On Canvas 15 x 10cm
Aggtelek,’;))’, Doritos Series 2016, Marker On Canvas 15 x 10cm
Aggtelek, 'Clarence's Mom Doritos Casting' Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, ‘Clarence’s Mom Doritos Casting’ Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, 'Fluor Landscape', Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, ‘Fluor Landscape’, Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, 'Going To The Supermarket', Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, ‘Going To The Supermarket’, Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, 'L.A. 99c', Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, ‘L.A. 99c’, Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, 'Magical', Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, ‘Magical’, Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, 'Selfie Bites', Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, ‘Selfie Bites’, Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, 'STEPS', Doritos Series 2016, Marker On Canvas, 15 x 10cm
Aggtelek, ‘STEPS’, Doritos Series 2016, Marker On Canvas, 15 x 10cm
Grey NoiseDubai, UAE

Dubai, UAE

Grey Noise

greynoise.org
info@greynoise.org
+971 4 3790764

Stéphanie Saadé, b. 1983, Lebanon
Lives and works between Beirut and Paris

Stéphanie Saadé’s work takes as a departure point the moment when one becomes estranged from his surroundings. The artist explores the shape, or the shapes, of distance, and makes them visible, as well as the changes in shape of the individual that goes through this estrangement. A process of Artificial Nostalgia is developed, through which strange locations, familiar to the artist, are assembled. The nature of links is questioned, their persistence or their ephemerality. The created knots and ties form pairs, which never become doubles. Single objects are composed from differences brought together.

Saadé graduated in Fine Arts from the École Nationale Supérieure des Beaux-Arts, Paris, France and attended a post-graduate program at the China Academy of Arts, Hangzhou, China. She was an artist in residence at the Jan van Eyck Academie, Maastricht, The Netherlands (2014/2015), and the Cité Internationale des arts, Paris, France (2015).

Her work has been exhibited at Home Works 7, Beirut, Lebanon / Parc Saint Léger hors les murs, Nevers, France / La Traverse, Centre d’Art Contemporain d’Alfortville, Alfortville, France / MuHKA, Antwerp, Belgium / Marres, Maastricht, The Netherlands / Frieze Art Fair, London, UK / Mosaic Rooms, London, UK / Casa Árabe, Madrid, Spain / Casa Árabe, Cordoba, Spain / La Conservera, Centro de Arte Contemporaneo, Murcia, Spain / New Positions, Art Cologne, Cologne, Germany / Van Eyck, Maastricht, The Netherlands / Le 59e Salon de Montrouge, Montrouge, France / Beirut Art Center, Beirut, Lebanon / Beirut Exhibition Center, Beirut, Lebanon / A.M. Qattan Foundation, Ramallah, Palestine / Qalandyia International Biennial, Qalandyia, Palestine / Grey Noise, Dubai, UAE / Akinci, Amsterdam, The Netherlands / Anne Barrault, Paris, France.

Forthcoming exhibitions include ‘Say it with Flowers!’ at Museum Schloss Moyland, Bedburg-Hau, Germany, in June 2016.


Installation view from 'The Shape of Distance', solo exhibition by Stéphanie Saadé, Grey Noise, Dubai, UAE
Installation view from ‘The Shape of Distance’, solo exhibition by Stéphanie Saadé, Grey Noise, Dubai, UAE
Stéphanie Saadé, 'The Day in Order', 2016, plastic ruler, acrylic paint, 3.4 x 51 cm
Stéphanie Saadé, ‘The Day in Order’, 2016, plastic ruler, acrylic paint, 3.4 x 51 cm
Stéphanie Saadé and Charbel-joseph H. Boutros, 'Souffles d’Artistes', 2016, inflated balloon, breaths of two artists in love, dimensions variable
Stéphanie Saadé and Charbel-joseph H. Boutros, ‘Souffles d’Artistes’, 2016, inflated balloon, breaths of
two artists in love, dimensions variable
Stéphanie Saadé, 'Golden Memories', 2016, old photograph, 24 carat gold leaf, 15 x 10 cm / A photograph from the artist’s childhood is covered with gold leaf.
Stéphanie Saadé, ‘Golden Memories’, 2016, old photograph, 24 carat gold leaf, 15 x 10 cm / A photograph from the artist’s childhood is covered with gold leaf.
Stéphanie Saadé, 'The Sky is a Village', 2016, printed photographs left outside, 115 x 78 cm and 115 x 95 cm / Pieces of sky taken from childhood photographs are scanned and enlarged to the size of the artist’s studio’s windows (installation view).
Stéphanie Saadé, ‘The Sky is a Village’, 2016, printed photographs left outside, 115 x 78 cm and 115 x 95 cm / Pieces of sky taken from childhood photographs are scanned and enlarged to the size of the artist’s studio’s windows (installation view).
Stéphanie Saadé, 'The Sky is a Village', 2016, printed photographs left outside, 115 x 78 cm and 115 x 95 cm / Pieces of sky taken from childhood photographs are scanned and enlarged to the size of the artist’s studio’s windows.
Stéphanie Saadé, ‘The Sky is a Village’, 2016, printed photographs left outside, 115 x 78 cm and 115 x 95 cm / Pieces of sky taken from childhood photographs are scanned and enlarged to the size of the artist’s studio’s windows.
Stéphanie Saadé, 'The Sky is a Village', 2016, printed photographs left outside, 115 x 78 cm and 115 x 95 cm / Pieces of sky taken from childhood photographs are scanned and enlarged to the size of the artist’s studio’s windows.
Stéphanie Saadé, ‘The Sky is a Village’, 2016, printed photographs left outside, 115 x 78 cm and 115 x 95 cm / Pieces of sky taken from childhood photographs are scanned and enlarged to the size of the artist’s studio’s windows.
Stéphanie Saadé, 'Artificial Nostalgia', 2014, key, sand, diameter: 25 cm, height: 10 cm / The key of the artist’s childhood home in Lebanon is stuck in a small pile of sand from Dubai.
Stéphanie Saadé, ‘Artificial Nostalgia’, 2014, key, sand, diameter: 25 cm, height: 10 cm / The key of the artist’s childhood home in Lebanon is stuck in a small pile of sand from Dubai.
Stéphanie Saadé, 'Down to Earth', 2016, prints on paper, frame: 40 x 50 cm / The artist looks for her birthdate in three drop-down menus, at ten years intervals.
Stéphanie Saadé, ‘Down to Earth’, 2016, prints on paper, frame: 40 x 50 cm / The artist looks for her birthdate in three drop-down menus, at ten years intervals.
Stéphanie Saadé, 'Down to Earth', 2016, prints on paper, frame: 40 x 50 cm / The artist looks for her birthdate in three drop-down menus, at ten years intervals (detail).
Stéphanie Saadé, ‘Down to Earth’, 2016, prints on paper, frame: 40 x 50 cm / The artist looks for her birthdate in three drop-down menus, at ten years intervals (detail).
Stéphanie Saadé, 'Re-Enactment LB/ Taxi', 2014, Mercedes sign, sanded CD, 11.5 cm diameter / A dispositif invented by taxi drivers in Lebanon to ornate their cars is reproduced.
Stéphanie Saadé, ‘Re-Enactment LB/ Taxi’, 2014, Mercedes sign, sanded CD, 11.5 cm diameter / A dispositif invented by taxi drivers in Lebanon to ornate their cars is reproduced.
Stéphanie Saadé, 'Moon Pills', 2015, 1 pack of 28 contraceptive pills, watercolor, 15 cm diameter / A cycle of the moon is painted on contraceptive pills (installation view).
Stéphanie Saadé, ‘Moon Pills’, 2015, 1 pack of 28 contraceptive pills, watercolor, 15 cm diameter / A cycle of the moon is painted on contraceptive pills (installation view).
Stéphanie Saadé, 'Moon Pills', 2015, 1 pack of 28 contraceptive pills, watercolor, 15 cm diameter / A cycle of the moon is painted on contraceptive pills (detail).
Stéphanie Saadé, ‘Moon Pills’, 2015, 1 pack of 28 contraceptive pills, watercolor, 15 cm diameter / A cycle of the moon is painted on contraceptive pills (detail).
Stéphanie Saadé, 'Re-Enactment LB/ Jasmine', 2016, fresh jasmine flowers, size of installation: 300 x 300 x 425 cm / A pile of jasmine flowers seen drying in a house in Beirut is reproduced.
Stéphanie Saadé, ‘Re-Enactment LB/ Jasmine’, 2016, fresh jasmine flowers, size of installation: 300 x 300 x 425 cm / A pile of jasmine flowers seen drying in a house in Beirut is reproduced.

Stéphanie Saadé, ‘Re-Enactment LB/ Jasmine’, 2016, fresh jasmine flowers, size of installation: 300 x 300 x 425 cm / A pile of jasmine flowers seen drying in a house in Beirut is reproduced (later view of installation).
Stéphanie Saadé, ‘Re-Enactment LB/ Jasmine’, 2016, fresh jasmine flowers, size of installation: 300 x 300 x 425 cm / A pile of jasmine flowers seen drying in a house in Beirut is reproduced (later view of installation).
LambdaLambdaLambdaPristina, KS

Pristina, KS

LambdaLambdaLambda

lambdalambdalambda.org
hello@lambdalambdalambda.org

Tatjana Danneberg
(b.1991, Vienna, AT, lives and works in Vienna, AT)

Tatjana Danneberg’s paintings presented at Dream New York range from photographic to almost fully abstract imagery.

Her paintings are created either through pure painterly gesture or digital printing elsewhere and are only later transferred onto the canvas. The complex process of layering results in a “broken” kind of images or gestures that are cracked open suggesting depth. The nature of these works can be regarded as windows or transmitters to another world that is being sparsely opened up on the surface of the work drawing the spectator into them and going beyond what is easily perceptible.

Tatjana Danneberg is currently studying at the Academy of Fine Arts in Vienna with Heimo Zobernig. Her works have been exhibited at LambdaLambdaLambda (solo) in Pristina (2015) and have been part of group exhibitions such as ‘Ratatouille’ at Shanaynay in Paris (2015), ‘New Needs’ at Haus Wittmann in Etsdorf/AT (2015), ‘Rundgang’ at Städelschule in Frankfurt am Main (2015) and ‘The Gathering’ at Bar Du Bois in Vienna (2014).


01_BOOTH_LLL_animationLO

Tatjana Dannenberg, 'hidden poet', 2016, Gouache, ink, paint primer, glue on canvas, 90 x 120 cm
Tatjana Dannenberg, ‘hidden poet’, 2016, Gouache, ink, paint primer, glue on canvas, 90 x 120 cm
Tatjana Danneberg, 'Meer und Kuchen', 2016, Gouache, ink, paint primer, glue on canvas, 100 x 150 cm
Tatjana Danneberg, ‘Meer und Kuchen’, 2016, Gouache, ink, paint primer, glue on canvas, 100 x 150 cm
Tatjana Danneberg, 'soft news', 2016, Gouache, ink, paint primer, glue on canvas, 90 x 120 cm
Tatjana Danneberg, ‘soft news’, 2016, Gouache, ink, paint primer, glue on canvas, 90 x 120 cm
Tatjana Danneberg, 'Birdie', 2016, Gouache, ink, paint primer, glue on canvas, 100 x 150 cm
Tatjana Danneberg, ‘Birdie’, 2016, Gouache, ink, paint primer, glue on canvas, 100 x 150 cm
Tatjana Dannenberg, 'running women', 2016, Gouache, ink, paint primer, glue on canvas, 110 x 110 cm
Tatjana Dannenberg, ‘running women’, 2016, Gouache, ink, paint primer, glue on canvas, 110 x 110 cm
Tatjana Danneberg, 'fools are friendly', 2016, Gouache, ink, paint primer, glue on canvas, 80 x 100 cm
Tatjana Danneberg, ‘fools are friendly’, 2016, Gouache, ink, paint primer, glue on canvas, 80 x 100 cm
LimoncelloLondon, UK

London, UK

Alice Browne, 'Chosen 1', 2011, Oil on Canvas, 40 x 35 x 2.3cm, Unique. Courtesy Private Collection, London.
Alice Browne, ‘Chosen 1’, 2011, Oil on Canvas, 40 x 35 x 2.3cm, Unique.
Courtesy Private Collection, London.
Alice Browne, 'Synthesis (in four parts)', 2015, Oil and Acrylic on Canvas, 220 x 184cm, Unique.
Alice Browne, ‘Synthesis (in four parts)’, 2015, Oil and Acrylic on Canvas, 220 x 184cm, Unique.

Bedwyr Williams, ‘ECHT’, 2014, HD Video 16:9, 27’08”, Edition of 3 plus II AP.
Courtesy Arts Council Collection, Southbank Centre, London.

Bedwyr Williams, 'Wooly Back', 2010, Bike, Rams Horns, Skull, Wool, 121 x 60 x 152 cm, Unique.
Bedwyr Williams, ‘Wooly Back’, 2010, Bike, Rams Horns, Skull, Wool, 121 x 60 x 152 cm, Unique.
Cornelia Baltes, 'Headless Chicken', 2012, Oil and Acrylics on Canvas, 120 x 100cm, Unique. Courtesy Private Collection, London.
Cornelia Baltes, ‘Headless Chicken’, 2012, Oil and Acrylics on Canvas, 120 x 100cm, Unique.
Courtesy Private Collection, London.
Cornelia Baltes, 'Selfportrait', 2010, Mixed Media on Canvas and Wall, 260 x 200cm, Unique.
Cornelia Baltes, ‘Selfportrait’, 2010, Mixed Media on Canvas and Wall, 260 x 200cm, Unique.
Gabriele de Santis, 'Tell the truth and then run (Arancia Gugu)', 2013, Wooden Plinth, Skates, 108 x 21 x 21cm, Unique. Courtesy Private Collection, Rome.
Gabriele de Santis, ‘Tell the truth and then run (Arancia Gugu)’, 2013, Wooden Plinth, Skates, 108 x 21 x 21cm, Unique.
Courtesy Private Collection, Rome.
Gabriele de Santis, 'Mario Merz', 2015, Painting on (Verde Alpi) Marble, 76 x 181cm, Unique.
Gabriele de Santis, ‘Mario Merz’, 2015, Painting on (Verde Alpi) Marble, 76 x 181cm, Unique.
Jack Strange, 'In The Air', 2008, Pin, Footballs From Observer Sunday Sport Supplement That Are Suspended in The Air, 3.7 x 4.4 x 4.4cm, Unique. Courtesy Zabludowicz Collection, London.
Jack Strange, ‘In The Air’, 2008, Pin, Footballs From Observer Sunday Sport Supplement That Are Suspended in The Air, 3.7 x 4.4 x 4.4cm, Unique.
Courtesy Zabludowicz Collection, London.
Jack Strange, 'Triple Magic Space Out', 2012, Flatscreen Monitor, Video, Perspex, Soil, Fake Fur, 106 x 46 x 32cm, Unique.
Jack Strange, ‘Triple Magic Space Out’, 2012, Flatscreen Monitor, Video, Perspex, Soil, Fake Fur, 106 x 46 x 32cm, Unique.
Jesse Wine, 'River Island IV', 2012, Glazed Ceramic, 2 Parts: 23 x 23 x 23cm / 41 x 20 x 4.5cm, Unique. Courtesy Private Collection, London.
Jesse Wine, ‘River Island IV’, 2012, Glazed Ceramic, 2 Parts: 23 x 23 x 23cm / 41 x 20 x 4.5cm, Unique.
Courtesy Private Collection, London.
Jesse Wine, 'Fruit Bag I', 2012, Glazed Ceramic, 31 x 38 x 35 cm, Unique
Jesse Wine, ‘Fruit Bag I’, 2012, Glazed Ceramic, 31 x 38 x 35 cm, Unique
Kate Owens, 'Takers', 2011, Ceramic, Ink, 7 x 7 x 1cm, Unique. Courtesy Private Collection, London.
Kate Owens, ‘Takers’, 2011, Ceramic, Ink, 7 x 7 x 1cm, Unique.
Courtesy Private Collection, London.
Kate Owens, 'Alarms & Embarassments', 2011, Reduced Energy Drink, 20 x 20 x 3cm, Unique
Kate Owens, ‘Alarms & Embarassments’, 2011, Reduced Energy Drink, 20 x 20 x 3cm, Unique
Lucy Clout, 'Untitled (Eyebrows)', 2007, Mdf cut to fit space, Undercoat, Eyelets, Electrical Tape, Pulleys, Cord, Cleat, 35 x 208 x 1cm, Unique. Courtesy Private Collection, Novarra.
Lucy Clout, ‘Untitled (Eyebrows)’, 2007, Mdf cut to fit space, Undercoat, Eyelets, Electrical Tape, Pulleys, Cord, Cleat, 35 x 208 x 1cm, Unique.
Courtesy Private Collection, Novarra.

Lucy Clout, ‘Shrugging Offing’, 2013, Video, 10’39”

Matt Golden, 'Date Painting', 2008, Framed Book, 30cm x 80cm, Ed 3/5 (+1AP). Courtesy Zabludowicz Collection, London.
Matt Golden, ‘Date Painting’, 2008, Framed Book, 30cm x 80cm, Ed 3/5 (+1AP).
Courtesy Zabludowicz Collection, London.
Matt Golden, 'The Tortoise Trainer', 2015, Cast Ciment Fondu, 15 x 20 x 32cm, Edition of 10 +1AP
Matt Golden, ‘The Tortoise Trainer’, 2015, Cast Ciment Fondu, 15 x 20 x 32cm, Edition of 10 +1AP
Santo Tolone, 'Suzanne', 2011, Framed Appropriated Le Corbusier Catalogue Page, Metallic Foil Stars, 46 x 38cm, Unique. Courtesy Private Collection, London.
Santo Tolone, ‘Suzanne’, 2011, Framed Appropriated Le Corbusier Catalogue Page, Metallic Foil Stars, 46 x 38cm, Unique.
Courtesy Private Collection, London.
Santo Tolone, 'Billy Shadows', 2012, Painted MDF, 195 x 76.5 x 26.5 cm, Unique.
Santo Tolone, ‘Billy Shadows’, 2012, Painted MDF, 195 x 76.5 x 26.5 cm, Unique.
Sean Edwards, 'Untitled (Chipboard Sticks)', 2007, Chipboard, Gouache, 15 x 49 x 1.8cm, Unique. Courtesy Private Collection, Paris.
Sean Edwards, ‘Untitled (Chipboard Sticks)’, 2007, Chipboard, Gouache, 15 x 49 x 1.8cm, Unique.
Courtesy Private Collection, Paris.

Sean Edwards, ‘Maelfa’, 2010, HD Single Channel Video, 25’04”, Edition of 3 plus II AP.

Vanessa Billy, 'Foliage', 2006, Collage, 27.7 x 21cm, Unique. Courtesy Private Collection, London.
Vanessa Billy, ‘Foliage’, 2006, Collage, 27.7 x 21cm, Unique.
Courtesy Private Collection, London.
Vanessa Billy, 'Feeds like energy', 2014, Cast Aluminium, LED Light, Perspex, Electric Cable, (2 parts) 16 x 16 x 13 cm, Unique.
Vanessa Billy, ‘Feeds like energy’, 2014, Cast Aluminium, LED Light, Perspex, Electric Cable, (2 parts) 16 x 16 x 13 cm, Unique.
Yonatan Vinitsky, 'Rehearsal / Chute, Chute / Rehearsal', 2008, Gloss Paint (S5005-B20G, S510-G7OY) on Plain and Archival Glassine Paper, 100 x 70cm, Unique.  Courtesy Private Collection, London.
Yonatan Vinitsky, ‘Rehearsal / Chute, Chute / Rehearsal’, 2008, Gloss Paint (S5005-B20G, S510-G7OY) on Plain and Archival Glassine Paper, 100 x 70cm, Unique.
Courtesy Private Collection, London.
Yonatan Vinitsky, 'The Universe is Very, Very Big, So Are You', 2016, Welded Galvanized Powder Coated Steel, 550 x 425 x 12 cm, Unique.
Yonatan Vinitsky, ‘The Universe is Very, Very Big, So Are You’, 2016, Welded Galvanized Powder Coated Steel, 550 x 425 x 12 cm, Unique.
Rob TufnellCologne, DELondon, UK

Cologne, DE

London, UK

Rob Tufnell

robtufnell.com
mail@robtufnell.com

Tom Humphreys (b. 1972) studied at Winchester School of Art and Design and Chelsea College of Art. Solo exhibitions of his work have been held at What Pipeline, Detroit (2015); Christian Anderson, Copenhagen (2014 and 2012); High Art, Paris (2014); Chez Michel, Dingum, Berlin; Courtney Blades, Chicago and TPW Toronto (both with Laure Provost) and What Pipeline, Detroit (with Lucy Stahl) (2013) and Pro Choice, Vienna (2011 and 2009). His work has also been included in numerous group exhibitions including the 31st Biennial of Graphic Arts, Ljubljana (2015) and ‘Corruption Feeds’ (curated by Will Benedict), Bergen Kunsthall (2014). He also initiated and ran the gallery Flaca in London from 2003 – 2007. A revised history of the gallery, ‘Flaca/ Tom Humphreys’ was presented at Portikus, Frankfurt am Main in 2011.


Tom Humphreys, 'untitled', 2015, reglazed found ceramic dinner plate, aluminium bracket, 18 cm diameter
Tom Humphreys, ‘untitled’, 2015, reglazed found ceramic dinner plate, aluminium bracket, 18 cm diameter
Tom Humphreys, 'untitled', 2015, reglazed found ceramic dinner plate, ceramic transfer, aluminium bracket, 26 cm diameter
Tom Humphreys, ‘untitled’, 2015, reglazed found ceramic dinner plate, ceramic transfer, aluminium bracket, 26 cm diameter
Tom Humphreys, 'untitled', 2015, reglazed found ceramic dinner plate, aluminium bracket, 27.2 cm diameter
Tom Humphreys, ‘untitled’, 2015, reglazed found ceramic dinner plate, aluminium bracket, 27.2 cm diameter
Tom Humphreys, 'untitled', 2015, reglazed found ceramic dinner plate, aluminium bracket, 19.1 cm diameter
Tom Humphreys, ‘untitled’, 2015, reglazed found ceramic dinner plate, aluminium bracket, 19.1 cm diameter
Tom Humphreys, 'untitled', 2015, reglazed found ceramic dinner plate, aluminium bracket, 28 cm diameter
Tom Humphreys, ‘untitled’, 2015, reglazed found ceramic dinner plate, aluminium bracket, 28 cm diameter
Tom Humphreys, 'untitled', 2015, reglazed found ceramic dinner plate, aluminium bracket, 28 cm diameter approx.
Tom Humphreys, ‘untitled’, 2015, reglazed found ceramic dinner plate, aluminium bracket, 28 cm diameter approx.
Tom Humphreys, 'untitled', 2015, reglazed found ceramic dinner plate, ceramic transfer, aluminium bracket, 20.8 cm diameter
Tom Humphreys, ‘untitled’, 2015, reglazed found ceramic dinner plate, ceramic transfer, aluminium bracket, 20.8 cm diameter
Tom Humphreys, 'untitled', 2015, reglazed found ceramic dinner plate, aluminium bracket, 28 cm diameter approx.
Tom Humphreys, ‘untitled’, 2015, reglazed found ceramic dinner plate, aluminium bracket, 28 cm diameter approx.
Tom Humphreys, 'untitled', 2015, reglazed found ceramic dinner plate, ceramic transfer, aluminium bracket, 21.8 cm diameter
Tom Humphreys, ‘untitled’, 2015, reglazed found ceramic dinner plate, ceramic transfer, aluminium bracket, 21.8 cm diameter
Tom Humphreys, 'untitled', 2015, reglazed found ceramic dinner plate, aluminium bracket, 28 cm diameter
Tom Humphreys, ‘untitled’, 2015, reglazed found ceramic dinner plate, aluminium bracket, 28 cm diameter
Tom Humphreys, 'untitled', 2015, reglazed found ceramic dinner plate, aluminium bracket, 28 cm diameter approx.
Tom Humphreys, ‘untitled’, 2015, reglazed found ceramic dinner plate, aluminium bracket, 28 cm diameter approx.
SabotCluj-Napoca, RO

Cluj-Napoca, RO

Sabot

galeria-sabot.ro
info@galeria-sabot.ro
+40 723224105

Stefano Calligaro
(1976, lives and works in Cluj-Napoca, Romania)
= It Is Like It Was Was It Like It Was Was:
Please contact the gallery for further informations about Stefano Calligaro’s hermetic, contradictory, and deliberately rich practice.

Lucie Fontaine
(1982, lives and works in Colmar, France)
Describing herself as an “art employer,” Lucie Fontaine avoids harnessing her practice to a specific figure of the art field, preferring to cultivate a modus operandi driven solely by her relationship with two employees, a concept of self-generated labor similar to the Master-Slave dialectic presented by Hegel is his master-piece, Phenomenology of Spirit. Her two* art employees like to define her as the Jamie Lynn Spears of contemporary art: “pregnant and in search of easy success.” Thus, Lucie Fontaine incarnates the following three assumptions: 1) the anti-hierarchical perception of the art field, where artists, curators, gallerists, collectors, editors and critics are all considered “players” in the same game; 2) the theory of expanded practice, in which the artist is not only considered the “creator” of an artwork, but also a cultural operator able to write, manage galleries, curate, collect, etc.; 3) the consideration of the entire discourse around the artwork: conception / creation / production / presentation / distribution / communication / promotion.
In 2007, Lucie Fontaine has opened a space in Milan, which was intended as a meeting place for the artistic community. Together with her employees, she invites artists to exhibit in Milan and, at the same time, exhibits her artworks, curates exhibitions, organizes lectures, and edits books elsewhere. She was invited to create projects for Marianne Boesky gallery in New York, Galerie Perrotin in Paris, Iaspis in Stockholm, and Artport in Tel Aviv. More recently, Lucie has expanded her activities through satellites in Tokyo and Bali, Indonesia.

Vlad Nancă
(1979, lives and works in Bucharest, Romania)
In parallel with his early art practice, Vlad Nancă was a significant contributor to the coagulation of the young art scene in Bucharest. Artist and sometimes curator, drawing on the environment and influenced by the everyday life in Bucharest, Vlad Nancă documents urbanity through photographs, installations, and sculptures. While his early works employ political and cultural symbols, often using word-play to evoke nostalgia and refer Romania’s recent history, his recent interests evolve along the notion of public space – its use and functions. Selected solo shows: “From White Square to White Cube”, Alert Studio, Bucharest (2015); “That ‘70s Show”, Boccanera Gallery, Trento (2014); “Garden of Mary”, Sabot Gallery, Cluj-Napoca (2013); “The Way”, Contemporary Art Gallery, Brukenthal Museum, Sibiu (2011); “Dream of Bucharest”, Akademie Schloss Solitude, Stuttgart (2007). Selected group shows: “Shape of Time – Future of Nostalgia”, National Museum of Contemporary Art, Bucharest, Romania (2016); “Art Encounters”, Timisoara Biennial (2015); “Few Were Happy with their Condition”, Kunsthalle Wintethur (2015); “Fragile sense of hope”, Art Collection Telekom, me Collectors Room / Olbricht Foundation, Berlin (2014); “A few grams of Red, Yellow, Blue”, CCA Ujazdowski Castle, Warsaw (2014); “Image to be projected until it vanishes”, Museion, Bolzano (2011); “On Difference #3”, Stuttgart Kunstverein (2005); “Social Cooking”, NGBK Berlin (2007); “Der Prozess“, Prague Biennale 3 (2007).


Lucie Fontaine_gif

Stefano Calligaro_gif

Vlad Nanca_gif